In a lively corner of Psyrri, one of Athens’ most characterful and fast-changing neighborhoods, 314 Architecture Studio introduces EteroLukumas, a compact dessert shop that feels more like a sculptural installation than a typical storefront. Just 20 square meters in size, the space serves Greek donuts, known as ‘loukoumades’ and ice cream behind a facade lined with ceramic tiles.

images courtesy of 314 Architecture Studio

EteroLukumas channels mid-century athenian homes

The shop sits in a spot that’s tucked away and highly visible at the same time. Rather than competing with the noise and texture of the area, a mix of small shops, bars, workshops, and pedestrian routes, the Athens-based architects introduce soft, curved forms that feel calming. Materials were chosen with care and memory in mind. The ceramic tiles, for example, echo those found in many Athenian homes from the 1950s and ’60s. That nod to the past is intentional, a way of quietly honoring the city’s built heritage, especially the handmade details that are becoming rarer in new construction.

314 Architecture Studio draws loosely from the flowing lines of Art Nouveau as a starting point for shaping the space. Inside, there are no hard corners or partitions, with a central column blending into the ceiling and walls, creating a fluid surface that feels carved. From the street, EteroLukumas‘ openings are shaped in such a way that they invite people in without fully revealing the interior.

This small project puts emphasis on mood, texture, and atmosphere over big gestures, offering a soft counterpoint to the city’s usual intensity.

314 Architecture Studio introduces EteroLukumas

a compact dessert shop that feels more like a sculptural installation than a typical storefront

just 20 square meters in size, the space serves Greek donuts

314 Architecture Studio draws loosely from the flowing lines of Art Nouveau

materials were chosen with care and memory in mind

a central column blending into the ceiling and walls

project info:

name: EteroLukumas

architects: 314 Architecture Studio | @314architecturestudio

location: Athens, Greece

The post tiny dessert shop by 314 architecture studio brings flowing forms to central athens appeared first on designboom | architecture & design magazine.

At the Ekies All Senses Resort in northern Greece, CTRLZAK design studio unveils Bubo, a restaurant inspired by komorebi, the poetic Japanese term for sunlight filtering through trees. Developed by Thanos Zakopoulos and Katia Meneghini, the studio draws a conceptual thread between this architectural project and Zakopoulos’ recent art installation at the same resort, which used charred pine as a metaphor for destruction and rebirth (find designboom’s previous coverage here). In Bubo, komorebi becomes the conceptual guide that shapes an atmosphere where light, structure, and texture create the feeling of walking through a forest. The interior draws from the rhythms and systems of the surrounding pines, inviting guests to feel part of it.

images courtesy of CTRLZAK

tree-like columns support perforated metal ceiling

Italian-Greek studio CTRLZAK interprets komorebi as a metaphor for ecological connection and the subtle rhythms of the natural world, sunlight, water, air, and matter in constant exchange. In the dining space of Bubo, angled columns rise like tree trunks, supporting a canopy of perforated metal ceiling panels that hide lighting and ventilation behind a pattern reminiscent of vascular tissue in pine needles. Working with Reflect Lights, CTRLZAK creates a play of light and shadow that recalls walking through a forest, where sunlight breaks through the foliage in quiet moments of clarity and wonder.

Bespoke furniture, dining tables, sofas, dividers, and curtains, is part of the forest narrative. Materials drawn from the local landscape, such as earthy plasters and Greek marble, further ground the restaurant in its context. The stone flooring features a subtle gradient of two regional marbles, which dissolve into one another as the space opens toward the beach.

CTRLZAK design studio unveils Bubo, a restaurant inspired by komorebi

water installation reflects mountain-to-sea flow

That same attention to elemental transitions is visible in the bathroom, which is envisioned as a cave-like retreat. Designed as a kind of contemporary sanctuary, it channels the idea of water emerging from the mountain. A spring-like installation releases water through the stone wall and out into an exterior fountain, reimagining the mountain-to-sea flow in architectural form. Nearby, a mural and custom-made outdoor furniture evoke geological stratification, exploring the ongoing transformation of the terrain and the layered histories embedded in it.

CTRLZAK’s design celebrates the unseen dimensions of the natural world, from cellular structures to ancient stone, reminding us of our place within an interconnected whole.

angled columns rise like tree trunks

bespoke furniture is part of the forest narrative

a pattern reminiscent of vascular tissue in pine needles

earthy plasters and Greek marble further ground the restaurant in its context

a spring-like installation releases water through the stone wall

reimagining the mountain-to-sea flow in architectural form

a mural and custom-made outdoor furniture evoke geological stratification

the stone flooring features two regional marbles

CTRLZAK creates a play of light and shadow that recalls walking through a forest

perforated metal ceiling panels hide lighting and ventilation

project info:

name: Bubo Restaurant
architect: CTRLZAK | @ctrlzak
location: Ekies All Senses Resort | @ekiesresort, Chalkidiki, Greece

The post CTRLZAK channels filtered forest light in pine-inspired restaurant at ekies resort, greece appeared first on designboom | architecture & design magazine.

Perched on the rocky slopes of Greece’s Akra Pelegri with sweeping views over Souda Bay, the JW Marriott Crete Resort & Spa opens its doors, marking the brand’s first presence on the island. The 160-room resort is brought to life by architecture studio Block722 and is operated by SWOT Hospitality. 

The 13,600-square-meter development is designed to follow the natural terrain and stretches across nearly 60,000 square meters of rugged Cretan land. Local materials, including stone and aggregates sourced directly from the site, shape the walls and structural elements, creating a sense that the buildings are part of the earth itself. The architecture is clean and sculptural, rooted in texture, shadow, and natural light. The resort embraces what the design team calls ‘slow living,’ inviting guests to settle into the rhythms of the island.

all images by George Pappas, unless stated otherwise

Greek architectural references shape the project

From the moment you arrive, the JW Marriott Crete Resort & Spa sets the tone with a layered approach. The entrance opens onto a planted square, Athens-based Block722’s take on a traditional village ‘plateia’, that immediately roots you in place. From there, the resort is revealed slowly as you move through a series of framed views and architectural thresholds.

Inside, natural light spills in from a central skylight, filtering through a lobby lush with greenery. The interplay of nature and structure continues through the bar, the restaurant, and the JW Market, all shaded by large pergolas, elements that nod to ancient Greek architecture while providing comfort from the Mediterranean sun.

Throughout the shared spaces in the resort, there’s a balance between clean, geometric lines and a grounded, earthy texture. Wood, stone, and woven elements bring softness and warmth, while the ever-changing light adds movement and depth. Shading structures made from natural fibers keep things cool while referencing traditional craftsmanship. At the center of it all, a still, reflective pool wraps around sunken seating areas reached by stepping stones.

the JW Marriott Crete Resort & Spa opens its doors

homes that belong to the hillside

As guests make their way up the hillside, the energy of the shared spaces gradually gives way to a sense of calm and privacy. The rooms, a mix of single- and two-story structures, open to unobstructed sea views, shaded terraces, and planted rooftops that dissolve the buildings into the terrain. Private plunge pools are integrated into the slope, helping to cool the microclimate and echo the rhythms of the site.

The interior design continues the conversation with the outdoors through a palette of raw linen, terracotta, ceramics, rattan, and timber. Every piece of furniture and finish is crafted in close collaboration with Cretan artisans and sourced from nearby workshops, giving tangible form to the resort’s deep respect for place. 

Block722’s thorough regenerative approach is applied across environmental systems, including green roofs, photovoltaic panels, and a well for water sourcing. Passive strategies, such as natural cross-ventilation, deep pergolas, and optimal orientation, help maintain thermal comfort while reducing energy demand. The planting scheme, developed with Doxiadis+, uses exclusively native, drought-tolerant species that encourage biodiversity and eliminate unnecessary irrigation.

private plunge pools are integrated into the slope

the JW Marriott Crete Resort & Spa sets the tone with a layered approach | image by Ana Santl

still, reflective pool wraps around sunken seating areas reached by stepping stones

shading structures made from natural fibers keep things cool

elements nod to ancient Greek architecture | image by Ana Santl

the rooms are a mix of single- and two-story structures

the 160-room resort is brought to life by architecture studio Block722 | image by Ana Santl

the resort embraces what the design team calls ‘slow living’ | image by Ana Santl

inviting guests to settle into the rhythms of the island | image by Ana Santl

, the resort is revealed slowly as you move through a series of framed views | image by Ana Santl

the interplay of nature and structure continues through the bar | image by Ana Santl

wood, stone, and woven elements bring softness and warmth | image by Ana Santl

the ever-changing light adds movement | image by Ana Santl

project info:

name: JW Marriott Crete Resort & Spa | @jwmarriottcreteresort
architect: Block722 | @block722architects

location: Marathi, Crete, Greece

plot area: 59,700 square meters

built area: 13,600 square meters

client: Marriott Hotels & Resorts

interior design: Block722
creative direction: Block722

block722 team leads: Sotiris Tsergas, Katja Margaritoglou, Christina Kontou, Elena Milidaki

design team: Apostolos Karastamatis, Eirini Tsakalaki, Danai Lazaridi, Electra Polyzou, Marilena Michalopoulou, Xenia Bouranta, Georgia Nikolopoulou, Tzemil Moustafoglou, Gregory Bodiotis

landscape design: Doxiadis + | @doxiadisplus

planting consultant: M&M Constructions Ltd

lighting design: L+DG Lighting Architects | @ldglightingarchitects

structural engineer: PLINTH

MEP engineer: Agapalakis & Associates L.P.

spa & wellness consultants: Eminence Hospitality, Andrew Gibson

art direction: Block722, Efi Spyrou | @efispyrou
styling: Priszcilla Varga

visualizations: Block722

photography: Ana Santl | @iamnotana

aerial photography & video: George Pappas

The post block722 sculpts JW marriott’s crete resort into the landscape using stone from the site appeared first on designboom | architecture & design magazine.

In the northern part of Evia, Greece, Fotis Zapantiotis proposes a winery that respects the natural terrain, the surrounding vineyard, and the process of winemaking itself. The 1,500-square-meter Ktima Aidipsos is entirely embedded in the earth to minimize the visual impact on the landscape while also creating ideal conditions for wine storage and maturation.

The building leaves only two geometric marks on the land, a straight line and a circle. The linear building houses the production facilities, which are positioned behind a retaining wall and hidden from view. This structure contains all the functional areas of the winery, including the fermentation rooms, bottling line, barrel storage, and technical spaces. Meanwhile, the circle is placed at the center of the composition, carved into the ground to form an open-air courtyard. This circular void functions as a gathering point for visitors, offering panoramic views of the vineyard and introducing a softer, more symbolic element to the otherwise rational layout.

images by Studio Taf

circular plaza and linear cut shape Ktima Aidipsos

Greek architect Fotis Zapantiotis and his team decided to place Ktima Aidipsos underground primarily for practical reasons, not just for the way it looks. The surrounding soil provides stable temperatures and natural humidity control, creating optimal conditions for wine aging without the need for mechanical systems. At the same time, the structure becomes part of the vineyard’s topography. From above, the only visible elements are the retaining wall along the linear cut and the sunken circular plaza. The rest of the architecture remains hidden, allowing the rows of grapevines to dominate the landscape uninterrupted.

the building leaves only two geometric marks on the land, a straight line and a circle

tracing the subterranean rhythm of winemaking

Visitors approach the Zapantiotis-designed winery by walking through the vineyard, following the natural order of the terrain. A narrow path leads them toward a subtle incision in the ground, which gradually opens up to reveal the entrance. Once inside, a circular staircase leads down into the core of the project, where guests are invited to walk alongside the production spaces. The route passes through the fermentation hall, where tall stainless steel tanks reflect the dim lighting, and continues into the barrel-aging rooms and bottling areas. Along the way, the textures of the materials, the smell of wine, and the cool air from the earth all contribute to the experience.

At the heart of Ktima Aidipsos is the tasting hall, a space designed with vaulted ceilings, thick earthen walls, and soft, diffused lighting, to resemble a quiet, cave-like retreat. Here, visitors can taste the wine while being surrounded by the very conditions that helped produce it. The space is silent and still, insulated from the outside world, except for the occasional sound of footsteps on gravel. Finally, the path leads back up to the surface, emerging into the circular outdoor plaza. This final space reconnects visitors with the landscape and offers a moment of reflection, closing the loop between the earth, the architecture, and the wine.

the linear building houses the production facilities

a winery that respects the natural terrain

the 1,500-square-meter Ktima Aidipsos is entirely embedded in the earth

this circular void functions as a gathering point for visitors

introducing a symbolic element to the otherwise rational layout

a quiet, cave-like retreat

closing the loop between the earth, the architecture, and the wine

a circular staircase leads down into the core of the project

guests are invited to walk alongside the production spaces

project info:

name: Ktima Aidipsos Winery

architect: Fotis Zapantiotis Associated Architects | @fotiszapantiotis

design team: Fotis Zapantiotis, Alexandra Zarani, Maria Agapaki

location: Aidipsos, Evia, Greece

area: 1,500 square meters

visualizations: Studio Taf | @studiotaf_

The post circular cut in the vineyard reveals fotis zapantiotis’ underground winery in greece appeared first on designboom | architecture & design magazine.

The Sanctuary of Dreams is a multi-sensory, participatory installation rooted in African philosophies of cyclical time and ancestral memory. On view as part of Plásmata 3 | We’ve met before, haven’t we? in Athens, curated by Onassis Stegi, the project by Toguna World and Pierre-Christophe Gam combines immersive film, ritual design, and speculative storytelling to explore the question: What future does Africa dream of?

Inside an ethereal inflatable structure inspired by nomadic desert tents, visitors remove their shoes and enter a contemplative space. Here, a 44-minute art film unfolds across three screens, blending experimental animation, soundscapes, collage, and archival textures. The atmosphere is meditative and sacred, transcending linear time and inviting participants to reflect on how we might eat, play, pray, dream, and love in a future reimagined through collective dreaming. 

all images courtesy of Toguna World

Toguna World houses collective dreaming in an ethereal temple

Following the screening, a guided reflection and storytelling circle allow participants to voice their visions for the future. These responses are archived as part of The Global Mapping of Dreams, a continent-wide research initiative spanning Africa and the diaspora. Developed by artist Pierre-Christophe Gam’s Toguna World during a fellowship at the MIT Open Documentary Lab and the European Digital deal, in residency at Onassis Stegi, in Athens, and first presented at Ars Electronica, The Sanctuary of Dreams transforms artistic experience into a civic ritual for reclaiming the future. The pavilion features a metal frame (6m x 6m x 4m), dimmable ambient lighting and scent diffusion system, floor seating on modular cushions, a large screen with spatial audio, and voice-guided participation via the artist’s avatar.

children gather inside the dream temple, watching and engaging with visions of imagined African futures

a hypnotic film unfolds, blending collage, sound, and symbolism into a cinematic ritual of reflection and foresight

the structure features five dream pillars, each representing a fundamental human theme

the temple’s entrance invites public into an immersive space for collective visioning and ritual storytelling

the angled view of the sanctuary reveals the vibrant dream iconography and film screen

colorful iconography and layered thresholds create a transition from physical space into spiritual reflection

still from the immersive film: speculative collage exploring ancestral wisdom

artwork detail: African cosmogony meets digital myth-making

project info:

name: The Sanctuary of Dreams
designer: Pierre-Christophe Gam | @pierre.christophe.gam – Toguna World | @togunaworld

exhibition: Plásmata 3 | We’ve met before, haven’t we?

curation: Onassis Stegi | @onassis.stegi

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post sanctuary of dreams: toguna world’s nomadic temple for collective visioning lands in athens appeared first on designboom | architecture & design magazine.

Georges Batzios Architects proposes a new office building in Athens, structured as a flexible and evolving spatial framework. Drawing conceptual inspiration from Cedric Price’s Fun Palace, the project emphasizes adaptability, modularity, and the integration of natural systems within the urban workspace. The design reconsiders the office as an open, collective infrastructure rather than a static, autonomous structure. The building functions as a dynamic system capable of adjusting to shifting operational demands, facilitating both individual focus and collaborative activity. Architectural decisions prioritize spatial continuity between interior and exterior zones, introducing shared balconies, interior verandas, and atriums that promote interaction among users.

A central structural element is the exposed scaffolding framework, which supports modular spatial configurations and remains open to ongoing reconfiguration. This scaffolding operates not as a finished formal gesture, but as an infrastructural base that enables long-term adaptability. Vertical circulation elements, such as rotating escalators and moving walkways, are designed to support spatial reorganization and reprogramming, reflecting the shift from fixed plans to flexible usage scenarios.

all images courtesy of Georges Batzios Architects

Modular scaffolding anchors the office project

The architecture by Studio Georges Batzios Architects avoids monumentality, instead foregrounding functionality and user engagement. The layout incorporates decentralized, horizontally organized zones to reflect contemporary patterns of work, characterized by fluid hierarchies and project-based collaboration. Spatial arrangements are designed to accommodate various work modes, individual, group, or hybrid, while maintaining the capacity for programmatic shifts over time. Landscape integration plays a key role in the overall strategy. Planting is treated as an architectural element, introduced at all levels of the structure to promote ecological continuity. Vegetation is not confined to ornamental use but supports environmental comfort and spatial quality through controlled natural colonization across terraces and structural edges.

This approach positions the building as a responsive system, one that adapts to evolving conditions of labor and space use. Rather than a fixed object, the office is conceived as a continuous framework for exchange, growth, and transformation, aligning spatial design with the operational realities of contemporary work environments.

modular office infrastructure reimagines workspace adaptability

scaffolding becomes structure: a flexible framework for change

interior verandas and shared balconies promote user interaction

open zones facilitate both focused and collaborative work

interior-exterior continuity enhances spatial and social flow

exposed scaffolding supports future reconfiguration and expansion

vegetation is integrated as a structural and spatial element

planting strategy emphasizes ecological continuity across floors

landscape and architecture co-evolve within the structure

section

isometric drawing

project info:

name: Office building in Athens
architects: Georges Batzios Architects | @georgesbatziosarchitects
location: Athens, Greece

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post georges batzios architects proposes planted scaffolding for office building in athens appeared first on designboom | architecture & design magazine.

Troias Apartment sits quietly on the first floor of a 1970s polykatoikia (apartment building) in the dense fabric of Kypseli, Athens, nestled between two narrow streets. The original layout, defined by a long, dark corridor, fragmented the apartment into a sequence of disconnected rooms. The intervention by Greek studio threshold is simple and legible. All non-structural walls are removed, and a second, almost hidden WC is introduced. The main bathroom proudly sits at the heart of the plan. Where privacy is required, translucent or transparent partitions allow light to pass through freely. By evening, the bathroom becomes a glowing glass box, a quiet shadow play. Floors and ceilings are given equal care.

all images by Vasso Paraschi

A minimal set of gestures restores Troias Apartment in Kypseli

The design team at threshold restores the wooden floors and arranges the kitchen as a floating element between two distinct surfaces. Below, a tomato-red floor marks the center of the intervention, receding at the entrance to reveal the original terrazzo. Above, the ceiling bears the imprint of the removed walls, a quiet trace of the apartment’s former layout. A light metal structure, floating lights, a giant house for a small extractor, and a full-height silver curtain are placed with intent, inviting shifting reflections throughout the day. Troias Apartment is composed of a sequence of elements, shaped through a minimal set of gestures, some essential, others simply possible. A precise palette of materials binds everything together. In the end, the apartment becomes a modest framework for everyday life, carefully unfolded, quietly rearranged.

the double-sided kitchen furniture becomes a display object for the living and dining space

threshold reimagines the space by removing all non-structural walls

translucent partitions allow privacy without compromising natural light

a reflective silver curtain creates a theatrical set-up, while hiding additional storage

bespoke entrance furniture incorporates a seating space and multi-purpose storage

traces of the old walls remain intact within the 1970s apartment

the shower takes a prominent position behind the curved glass brick wall

the existing old marble sink was re-integrated in the bathroom, built in a soft green enclosure

project info:

name: Troias Apartment
architects: threshold | @__threshold

ceramics: chryssavgie ceramics | @chryssavgie.ceramics

location: Kypseli, Athens, Greece

photographer: Vasso Paraschi | @vassoparaschi

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post red floor runs over minimal 1970s athens apartment revamped by threshold appeared first on designboom | architecture & design magazine.

Situated in central Athens, Aristides Dallas Architects operates as a bridge between the raw landscapes of the Greek islands and the dense urban fabric of the city. Founded in 2014 on the island of Tinos, the studio laid its conceptual foundation there, but it was through its subsequent expansion in Athens that it evolved into a design powerhouse working across various scales, from Pnoes hotel, to Lap Pool House residence. Each project materializes through a unique approach that balances between a deep contextual sensitivity and the bold geometrical forms the studio is known for. ‘A building should feel like an extension of its surroundings rather than a foreign object placed on top of it,’ founder Aristides Dallas tells designboom as he welcomes us into his multi-level studio in the heart of Exarcheia.

Dallas embraces the contrasts between the studio’s dual presence in Athens and Tinos, drawing inspiration from wild Cycladic terrains as much as from the layered, ever-evolving history of the capital.‘Having one foot in each world constantly shifts my perspective,’ he explains. ‘The city is about negotiating with the built environment, while the islands are about negotiating with nature itself.’ It’s this fluidity between the two that defines the architectural approach of his firm, one that is deeply rooted in place yet unafraid of contemporary expression. Read on as we take a deep dive into the world of Aristides Dallas Architects, the studio’s design philosophy, creative process, and what lies ahead for the firm.

Villa V in Corfu | rendering © Katerina Iakovaki, image courtesy of Aristides Dallas Architects | read more about the project here

inspiration through observation

Aristides Dallas Architects is driven by the ambition to contribute meaningfully to the evolution of contemporary Greek architecture. Structured as a multidisciplinary team, the firm brings together engineers, material scientists, interior designers, stylists, and artists to create projects that are both technically and conceptually rigorous. For Aristides Dallas, inspiration often comes from the unfiltered elements of a place rather than existing architecture. ‘When I walk through Tinos, I see rocks scattered in the fields, stones that have been shaped by time and weather, and I think—how would it be if this became a building?’ he shares with designboom. One evening, while passing through the Tinos port, he noticed large concrete blocks stacked along the waterfront. That moment sparked a concept for a residential project in Crete. ‘You find ideas everywhere—sometimes in the wildness of nature, other times in the built environment.’

This constant oscillation between city and landscape pushes the firm’s design ethos forward. ‘It’s not about copying nature—it’s about understanding its principles and translating them into architecture,’ he reflects. ‘The structured city demands engagement with history and context, while the islands challenge you to respond to the natural terrain. The balance between the two is what makes our work unique.’ 

The Lap Pool House | image courtesy of Aristides Dallas Architects | read more about the project here

interview WITH FOUNDER Aristides Dallas

designboom (DB): Can you tell us more about your background, and when did you found Aristides Dallas Architects? How has the studio evolved since then?

Aristeides Dallas (AD): Architecture has been a central force in my life since my early years. Even during my studies, I was deeply committed to developing a personal voice in architecture, participating in international competitions and working long hours to support myself. I wasn’t waiting for the right moment to appear, I was actively shaping it. My creative foundation was laid during that demanding period, long before I ever opened an office. What later followed was the natural outcome of persistence and vision.

When I decided to establish AD Architects, it was not a matter of convenience—it was a matter of integrity. I moved to the island of Tinos in 2014, where I launched the practice with a clear direction: to undertake only projects I truly believed in. This deliberate selectiveness attracted clients from abroad, who recognized value in our approach. Our first design project, VOLAX, opened the way, followed soon by projects in Mykonos, particularly in the hospitality sector. But the true expansion began with our move to Athens in 2018. Casa Leone, our first project in the city, felt symbolically placed, as it happened to be on Tinos Street in Agia Paraskevi. Since then, we’ve grown steadily and now operate a fully integrated studio in Exarcheia, Athens. This is where our team, our processes, and our reach evolved on a national scale.

wood finishes complement the black and white tones | image by Mariana Bisti

DB: The studio has offices in both Athens and Tinos. How do these locations influence your work and creative process?

AD: Having a presence in both Athens and Tinos is a significant advantage, as it constantly shifts my references and sources of inspiration. Spending part of the year immersed in the Cycladic landscape completely changes my perspective. The contrast between Athens and Tinos is literally a creative engine. In the city, I engage with dense urban fabric, layered history, and evolving cultural expectations. On the islands, I’m in constant dialogue with nature, topography, and silence. It’s not about preferring one over the other, but about allowing each context to inform the other. This dual lens lets us approach each project without clichés. Athens sharpens our logic, while the islands refine our intuition. When walking through Tinos, the raw beauty of rocks, light, and wind patterns often spark abstract ideas that later return to the city as spatial strategies.

I remember one night, walking home from the office past the port, where large concrete blocks were stacked. That moment sparked the concept for a project in Crete. For me, inspiration often comes from the raw landscape, from the unfiltered elements of a place rather than its existing architecture. When designing in urban Athens, we must engage with the built environment, but on the islands, the only real context is nature. This duality, the structured city and the wild landscape, keeps our work dynamic.

displaying architecture books and models on warm wooden shelving | image by Kirill Samarits

DB: Given your high focus on residential and hospitality projects, can you tell us more about your philosophy on ‘living’ and ‘dwelling’, and how it shapes your designs?

AD: Designing a home is both one of the simplest and most complex challenges. Every client comes in with a strong vision of how their house should be. In some ways, it’s even more challenging than designing a hotel—hotels follow clear functional guidelines, while homes are deeply personal. Each house we design must be entirely unique because every person is different. This means we are constantly reinventing the wheel. Some clients say, ‘I have a lot of experience with houses, I’ve lived in them all my life.’ And they’re not wrong; they understand what makes them feel comfortable.

I often liken it to acting—slipping into character, understanding the emotional world of the person who will inhabit the space. It’s less about ‘solving a brief’ and more about narrating a life. Homes are always personal. Hotels, by contrast, operate with clarity of function—but we try to inject narrative even there. Designing in architecture is deeply psychological. It requires empathy, curiosity, and the ability to suspend one’s own habits to fully embody someone else’s experience. This is why I believe architecture isn’t just about creating forms, it’s about crafting experiences.

A Touch of New | image courtesy of Aristides Dallas Architects | read more about the project here

DB: Your projects are often characterized by distinct geometric forms, clear and bold material choices, and yet, somehow, a very organic and harmonious coexistence with their surrounding landscape. Where do you draw inspiration from when it comes to forms and shapes? How do you balance organic integration with bold geometry? What materials do you prefer to work with, and how do they contribute to the identity of your buildings?

AD: We always begin with the site. We study how light travels, how winds circulate, how the terrain flows. Every project begins with such an in-depth study of the landscape. Each location provides different clues that guide our design. Balancing bold geometry with organic integration comes down to three key elements: materials, scale, and placement. If a form is too assertive, we tune it back—not to hide it, but to ground it. Choosing materials that reflect the surrounding colors and textures also plays a crucial role. Throughout our projects we’ve found inspiration in everything from cracked mud to volcanic movement or even the momentary architecture of sand towers built by children.

For instance, in the project Tectonic Lodging, we were inspired by the way dried mud cracks, leading us to design a building that feels as if the earth has fractured open to create space. In Santorini, for the Monolithic Village hotel we studied how sand towers form when children play on the beach, which inspired us to experiment with a single material wrapping the entire structure. The inspiration came by observing the way volcanic lava spreads and used that to inform a monolithic design with a singular material palette. It’s not about replicating nature. It’s about understanding its principles, trying to read it, like a language, and interpret it into space.

Pnoes | image courtesy of Aristides Dallas Architects | read more about the project here

DB: Is there a unifying element, or series of elements, that define the identity of Aristides Dallas Architects?

AD: I don’t subscribe to a fixed architectural style that applies across different projects. Instead, our approach is about continuously rediscovering architecture through the unique demands of each site, program, and client. What ties our projects together is not a specific aesthetic but the process—how we engage with context, materials, and form. Each project is a synthesis of landscape, place, and people.

We analyze the topography, local history, climate, and how people will interact with the space. Some projects are inspired by the way wind carves rock formations, while others take clues from historical building techniques or the natural flow of movement. Rather than imposing a predefined aesthetic, we allow the site and its constraints to shape the form. The goal is not to create buildings that are immediately recognizable but to design architecture that feels inevitable, as if it has always belonged to the landscape. We ask: what makes sense here? What forms arise naturally from this place, not despite it? 

We aim for an architecture that feels like it belongs, as if it emerged rather than was placed. In that sense, our philosophy is to use architecture as a social instrument to shape places with empathy, clarity, and care. We believe that buildings must serve people first—and in doing so, they reveal their most honest beauty.

The Lap Pool House | image courtesy of Aristides Dallas Architects

DB: Given the special conditions and unique character of the places you are often designing for, do you engage in collaborations with local craftspeople to bring your projects to fruition? How important is collaboration for you, both within and outside of the studio?

AD: Absolutely. Collaboration is fundamental—not just within our office but throughout the entire construction process. Our studio brings together architects, engineers, material researchers, designers, and stylists. But just as importantly, we engage deeply with local craftspeople. We see artisanal knowledge as a living layer in our architecture. Whether it’s stone masonry, woodworking, or metal detailing, these collaborations enrich the project with depth and soul. We work closely with artisans skilled in traditional techniques, ensuring that each project respects and evolves from local craftsmanship.

Working with craftspeople who are truly passionate about their craft makes all the difference. A skilled artisan doesn’t just execute a design—they refine it, paying attention to every detail.

Terra Fracta | image courtesy of Aristides Dallas Architects | read more about the project here

DB: Can you walk us through the typical design process at Aristides Dallas Architects—from initial concept to final execution?

AD: Our process starts long before we draw the first line. We begin with immersive research: mapping the site, reading its wind flows, light patterns, emblematic views and orientation. But more than that, we try to decode its personality, what it wants to become. From there, we move to strategic modeling—combining 3D digital tools with physical maquettes—to simulate not only the form, but the atmosphere of the project. We always integrate topography, vegetation, and even human movement into these early simulations.

Materiality is never an afterthought. It is tested, not just imagined—sometimes through full-scale mockups built on-site, other times through live material boards that evolve with the design. What defines our process is not only technical rigor, but also emotional clarity: every choice must feel inevitable. It’s a collaborative exercise across disciplines—our architects, engineers, interior stylists, and external makers all contribute from the very first sketches.

Cubic Hotel | image courtesy of Aristides Dallas Architects

DB: What is one of the most challenging projects you’ve undertaken, and what lessons did you learn from it?

AD: A client once requested a ‘wow’ factor. At first, we leaned into that direction pursuing a dramatic design, but as the process evolved, midway through, we stepped back and asked ourselves: Is this the right kind of ‘wow’ for this place? This reflection led us to completely rethink the project, ultimately shifting toward a simpler design that was more in tune with the landscape. We realized that the ‘wow’ had to come from silence, not spectacle. We revised everything, choosing a design that revealed itself slowly through shadows, weight, and tactility. The lesson was clear, the most powerful architecture doesn’t demand attention; it blends in, revealing itself gradually and harmonizing with its surroundings.

The Cliffhanger | image courtesy of Aristides Dallas Architects

DB: If you could design a dream project with no constraints—site, budget, or regulations—what would it be, and why?

AD: I would love to design an entire village or community from scratch—a place where architecture doesn’t just shape individual buildings, but the relationships between them. Streets, courtyards, thresholds, voids, shared moments of shade or openness. That, to me, is the purest form of architecture: creating the framework for how people live together. And doing so in a way that feels timeless, rooted, and yet forward-looking. In some ways, we are already working in that direction—especially through our latest hospitality projects, where we apply these principles across multiple structures and collective environments. At the same time, our ambition is to expand our work internationally. We see design not as a regional dialect, but as a universal language—one that can adapt to different geographies, cultures, and needs without losing depth or specificity. Our method is adaptable as well as our values are transferrable.

We’ve already worked on projects in Cyprus, and we’re actively seeking opportunities to extend this dialogue across borders. We’re open to partnering with international clients and teams who are looking for context-sensitive architecture rooted in material intelligence, spatial storytelling, and strong conceptual clarity. No matter the scale or location, our deeper ambition remains the same: to create spaces that feel inevitable, necessary, and deeply human.

Tectonic Lodging in Rhodes, Greece | image courtesy of Aristides Dallas Architects

DB: Aside from residential and hospitality spaces, are there other typologies—such as cultural, public, or commercial projects—that you would be interested in undertaking?

AD: Our team is eager to take on projects that engage with collective memory, civic function, and social gathering—whether that’s a cultural center, a public plaza, or an educational facility. These programs are a natural extension of our values: they require sensitivity to both place and people. In Greece, public tenders are often structured in ways that make access difficult for local studios. But we are committed to overcoming those limitations—through partnerships, collaborations, or design competitions that open up space for meaningful impact.

Our approach is not bound to a specific typology. Whether it’s residential, public, or cultural, we apply the same intensity of research, contextual understanding, and formal clarity. We’re always seeking projects that challenge us to rethink conventions and expand the possibilities of what architecture can do.

VOLAX | image courtesy of Aristides Dallas Architects | read more about the project here

DB: What are you working on at the moment? Any exciting plans for the future you can share with us?

AD: Right now, we’re working on several hospitality and residential projects across Greece, including some delicate renovations and hybrid programs that challenge the boundaries between private and shared space. But more importantly, we feel that the studio is entering a phase of redefinition. We want to experiment further, expand our typological scope, and establish creative collaborations abroad. This is not just about scaling up—it’s about deepening our architectural language and applying it to new contexts.

Over the past few years, our work has quietly traveled—through exhibitions, award selections, and word of mouth—reaching audiences beyond Greece. These moments of recognition remind us that architecture has the power to speak many languages, as long as it listens first. They continue to affirm what we believe at our core: Architecture, when grounded in place but open in spirit, can resonate across cultures—wherever it is built. We remain committed to designing with clarity, empathy, and depth—wherever a project takes us. Because in the end, architecture is less about where it starts, and more about how far it can resonate.

Aristides Dallas in his studio | image by Teramok

the Athens-based Aristides Dallas Architects team | image by Kirill Samarits

project info: 

architect: Aristides Dallas Architects | @aristidesdallasarchitects
studio location: Exarcheia, Athens, Greece

The post designboom steps inside aristides dallas architects’ athens studio, where context shapes form appeared first on designboom | architecture & design magazine.

Enveloped between the buzzing Exarcheia and Kolonaki neighborhoods, the Lycabettus apartment by Oikonomakis Siampakoulis Architects is a reinterpretation of a 1970s Athenian flat into a contemporary, light-filled living space for two young professionals. At just 85 square meters, the once-partitioned space now unfolds into a unified open-plan, art-filled interior where vintage terrazzo floors meet bespoke installations, and daily rituals—like cooking and art collecting—take center stage. The renovation preserves the soulful elements of the original home while integrating a vivid palette of colors, textures, and forms that reflect a deeply personal and culturally layered domesticity.

hand-crafted marble shelves allow for storage of appliances, cookbooks and artworks | all images by Alina Lefa

the Lycabettus apartment houses an extensive art collection

The clients, both active in the arts and communication fields, came with a clear vision, describing a home that could house their extensive art collection, inherited furniture, and globally sourced design pieces. In response, the Athens-based team of Oikonomakis Siampakoulis Architects curated a layout that allows objects to breathe and interact. By removing the old longitudinal walls of the apartment, the team allowed natural light to penetrate the depth of the plan. A bespoke white metal structure placed at the former wall’s location centers the transformation, marking its history with a sculptural gallery for favorite artworks, framed against an original exposed brick segment.

honey-stained, oak veneered cupboards are designed around the existing airshaft window

tiled kitchen island and marble surfaces revive domestic rituals

A standout feature of the Lycabettus apartment is its tiled kitchen island, with handcrafted marble shelves and integrated nooks; it allows cooking and conversation to flow effortlessly, reflecting the owners’ passion for culinary rituals. Hovering above it, a suspended white metal shelving unit casts playful shadows, mediating the space between kitchen and dining. Behind it, oak-veneered cabinetry—custom fit around airshaft and transom windows that redistribute daylight throughout the space, illuminating the previously dim bathroom and study room.

From honey-toned oak to Tinos marble, materials are treated as narrative tools in Oikonomakis Siampakoulis Architects’ Lycabettus apartment. Each surface, curve, and cut-out revives overlooked Athenian textures and domestic vernaculars with quiet precision. Custom bathroom tiles by artist Fani Skoulikidi Boukouvala reinforce the idea of art as an everyday presence. The result is a home where architecture doesn’t simply frame life—it participates in it, celebrating intimacy, clarity, and a renewed appreciation for the past within a contemporary Greek identity.

the kitchen island, complete with cupboards and Tinos marble backsplash

circulation into the apartment is transformed through the demolition of the old walls

the renovation preserves the soulful elements of the original home

the hallway furniture is built in the place where an old longitudinal wall stood

this piece seperates the entryway from the apartment’s corridor

integrating a vivid palette of colors, textures, and forms

a unique place for some of the residents’ favourite artworks

study room with the new transom window that brings light into the entryway of the apartment

project info:

name: Lycabettus apartment
architect: Oikonomakis Siampakoulis architects | @oikonomakis.siampakoulis
location: Lycabettus hill, Athens

photographer: Alina Lefa | @alinalefa

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: thomai tsimpou | designboom

The post oikonomakis siampakoulis reworks 70s flat into open, art-filled home in central athens appeared first on designboom | architecture & design magazine.

Ateno Architecture Studio’s Gaia residence seeks to renegotiate the traditional notions of luxury, embracing a philosophy grounded in simplicity and the use of raw materials. Despite the seemingly contradictory character of the chosen materials against the lush green island backdrop in Greece, the house exudes an intimate and inviting ambiance. Its warm clay terracotta tones resonate with the landscape, creating a space that conveys the feeling of being cradled within the earth, as if carved from the land itself. Rustic textures, of handmade terrazzo, marble, and wood, uniformly applied to walls, floors, and ceilings, come together to establish an ideal environment for a summer residence.

all images © Yiorgis Yerolymbos

ateno sculpts the house with minimalist geometries

Meganisi Island, known for its vibrant landscapes and pristine waters, provided the perfect setting for the project. Perched atop a ridge and surrounded by century-old olive trees, the design of a two-storey building, originally conceived and permitted by another architectural firm, underwent a complete transformation, preserving only its structural framework and core spatial arrangement. Responding to the building’s irregular geometry, defined by tangent rectangles, Ateno Architecture Studio’s design introduces an extensive wooden pergola, that serves as a unifying element, and evokes the sense of an expansive canopy floating above a podium, rising from the earth.

The clay house features five distinct bedrooms complemented by expansive seating and dining areas, seamlessly blending private sanctuaries with shared living spaces. Nestled in the embrace of nature, the exterior space, spread across three levels, integrates with the topography. Its focal point lies in the middle tier, where the swimming pool, remote yet inviting, connects the upper and lower levels. Surrounded by vibrant greenery, the upper-level provides occupants with panoramic views of the Ionian sea and Pindos mountain range, while the lower level, embedded in the terrain, creates a secluded retreat.

Gaia becomes part of the island landscape

the project embraces a philosophy grounded in simplicity and the use of raw materials

responding to the building’s irregular geometry, Ateno introduces an extensive wooden pergola

its warm clay terracotta tones resonate with the landscape

the view through the living spaces opens up towards the Ionian sea and Pindos mountain range

muted tones and raw textures create continuity in color and form

wide openings connect the living spaces with the landscape

light and shadow moves through the space

vivid colors contrast with the muted material palette

warm wooden textures complement clay surfaces

the main facade, framed by wild greenery and illuminated from the interior

from above, light outlines the geometry of the house

set on Meganisi Island in Greece

project info:

name: Gaia Residence
architect: Ateno Architecture Studio | @ateno.studio

location: Meganisi, Lefkada, Greece

architect team: Elias Theodorakis, Yiorgos Fiorentinos (Ateno Architecture Studio)

collaborating architect: Spiros Giotakis

structural engineer and supervisor: Angelos Kourtis
MEP engineer: Ioannis Mavrokefalos
contractor: My Ionian Group
client: Polydeykis S.A.

photographer: Yiorgis Yerolympos | @

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

The post ateno’s clay-coated house overlooks mountains and the sea on a greek island appeared first on designboom | architecture & design magazine.